Here is confirmation that Francesco Piemontesi belongs to a small elite: he is a pianist that other pianists go to hear. He is awesome and speculative in the A major while in the B-flat he achieves greatness without recourse to idiosyncrasy or extremes. Even in a crowded field of celebrated recordings, Piemontesi’s performances are wholly exceptional, enlightening if exhausting at every level. They are crowned by Pentatone’s beautifully natural sound.

“Unquestionably one of the greatest pianists of all time” is how Gramophone magazine has described Martha Argerich. Her relationship with the label goes back to 1965 and her victory at the International Chopin Competition in Warsaw. Over several decades it has produced a rich catalogue of live and studio recordings, embracing a repertoire that spans three centuries, a diversity of genres, and collaborations with such figures as Charles Dutoit, Nikolaus Harnoncourt, Gidon Kremer, Mischa Maisky and Itzhak Perlman. The complete recordings for EMI Classics, Teldec, Erato and Warner Classics are featured in this box.

Eugene Istomin (1925–2003), one of America’s most respected pianists, was highly esteemed by audiences and colleagues alike for his mindful virtuosity and unusually wide-ranging repertoire. 2015 marks Istomin’s 90th birthday year, a milestone that Sony Classical celebrates with the first-ever release of his complete Columbia Masterworks concerto and solo recordings in a limited original-jacket collection including 10 previously unreleased studio recordings. Many of these performances appear in their first authorized CD editions, including the 19-year-old pianist’s recorded debut in Bach’s D minor Concerto led by Adolf Busch; his youthful concerto collaborations with Pablo Casals; Chopin’s complete Nocturnes; Brahms’s Handel Variations; Schubert’s D major D 850 Sonata, plus the long-out-of-print Rachmaninoff 2nd, Tchaikovsky 1st, Brahms 2nd, and Beethoven 4th and 5th (“Emperor”) Concertos with Eugene Ormandy and the Philadelphia Orchestra. Newly remastered from the original analogue tapes, the discs are presented in facsimile sleeves and labels corresponding to the original LP releases. An enclosed booklet offers full discographical information, an essay by Jed Distler, and a photographic retrospective.

In nearly every respect this is outstanding. The Rondo brillant and the Fantasie, both written for the virtuoso duo of Karl von Bocklet and Josef Slawik, can sound as if Schubert were striving for a brilliant, flashy style, foreign to his nature. Both are in places uncomfortable to play (when first published, the Fantasie’s violin part was simplified), but you would never guess this from Faust’s and Melnikov’s performance; they both nonchalantly toss off any problem passages as though child’s play. The Fantasie’s finale and the Rondo brillant are irresistibly lively and spirited, and this duo’s technical finesse extends to more poetic episodes – Melnikov’s tremolo at the start of the Fantasie shimmers delicately, while the filigree passagework in the last of the variations that form the Fantasie’s centrepiece have a delightful poise and sense of ease.

The Naxos Deutsche Schubert-Lied-Edition: Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team. This disc is the third of a series devoted to Schubert’s friends, including Mayrhofer.

A lyricist in a thousand', Lupu has, naturally, placed Schubert at the centre of his repertoire and conjured from a seemingly recalcitrant black-and-white instrument a range of vocal colours and nuances that even a Souzay or Fischer-Dieskau might envy. Heard at his greatest in the sombre A minor Sonata, D845, he recreates a place where even the most outwardly genial phrase is troubled and despairing. Then turn to the A major Sonata's finale (D664) and you hear a pianist who can change from blazing defiance to a delectable lightness and vivacity.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team. In this second volume devoted to the poems of Schubert’s friends, the texts are much more than sentimental melodrama for they convey coded meanings about the real conditions of life, while the composer’s settings revolve around such themes as hope and disappointment, Utopia and disillusionment, religion and loss of faith.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to the Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team. For the first time, the listener and interested reader can follow Schubert’s textual alterations and can appreciate the importance the written word had for the composer. The project’s artistic advisor is the pianist Ulrich Eisenlohr, who has chosen German-speaking singers who represent the élite of today’s young German Lieder singers.

After winning the prestigious International Chopin Piano Competition in 2015 and releasing lauded albums of works by Debussy and Mozart, the "unequivocally brilliant" (The Telegraph) pianist SeongJin Cho now explores Schubert, Liszt, and Berg. The new album features Schubert's Wanderer Fantasy and Liszt's Piano Sonata in B minor.

Pianists Martha Argerich and Nelson Freire are stupendous virtuosos, and there's nothing in this recording of their 2009 Salzburg recital of staggeringly difficult works they cannot play. They know each other so well as old duo piano partners that their playing is stunning in its unity, but their distinctive individuality also comes across. What's most impressive about this recital is how completely Argerich and Freire have made this music their own. Brahms' Haydn Variations sound freer and fresher, more playful, and more profound than ever. Rachmaninov's Symphonic Dances are thrillingly rhapsodic, rapturous, and dramatic. Schubert's Grand Rondeau is more lyrical, intimate, and graceful than usual, and Ravel's La Valse more ecstatic and apocalyptically over-the-top frightening than in any comparable recordings, including Argerich's own earlier releases. Captured in wonderfully clear yet wholly present digital sound, the performances on this disc will be compulsory listening for anyone who loves music, any music.

In his debut recital album, countertenor Hugh Cutting presents Refound with pianist Audrey Hyland. This programme revolves around songs that are the product of two roots, seen through two lenses. Cutting and Hyland build a recital celebrating rediscovery and reinterpretation, presenting songs that blend old and new in their construction, text, or context. It is a testament to the beauty of interpretation and revival. This theme unfolds in folk-inspired songs by Ravel and Vaughan Williams; ancient texts in Howells and Dvořák; an imagined past in Wolf and Hahn; emotional education in Beach, Rodrigo and Lama; Lehrer’s parody; the recently rediscovered Mel Bonis; Piers Connor Kennedy’s improvisation-adjacent Rough Rhymes (world premiere recording); and Jeremy Sams’ new translation of Schubert’s Abschied.

Sandrine Piau avoue avoir une double fascination depuis toujours : pour la musique de Schubert et pour les quatuors à cordes : « La quête incessante du geste pur où l’on s’oublie soi-même pour faire corps avec les autres m’évoque ces ballets aquatiques de comédies musicales d’autrefois où les nageuses nous offraient des images de fleurs parfaites. » Grâce au Quatuor Psophos, elle réalise son rêve et ensemble ils présentent ce magnifique programme de transcriptions : « entre crin des archets et grain de la voix, nos instruments se fondent en un quintette de Schubert, imaginaire. »

This disc, another installment in Brendel's outstanding Schubert series, recorded in digital sound for Philips in the late 1980's, comprises the A minor sonata, which was the first of Schubert's sonatas to be published (1825) and the three Klavierstucke D.946, late pieces that were assembled by Brahms and published in 1868, forty years after the composer's death. William Kinderman, in his liner notes, observes that thematic material from the A minor sonata was used in a contemporaneous song called "Gravedigger's Lament," the lyrics of which included the verse "Abandoned by all, cousin only to death, I wait at the brink, staring longingly into the grave."

The young German baritone Konstantin Krimmel won the prestigious Preis des Deutschen Musikwettbewerbs in 2019, in addition to the Helmut Deutsch Prize. He joins Alpha for a number of recordings, starting with this programme of lieder conceived with his longstanding partner, the pianist Doriana Tchakarova. This lover of words, a particularly expressive performer in concert, wanted to tell a story for his first album: he chose to record a selection of ballads, because they are genuine operas in just a few minutes… mini-sagas that permit great interpretative freedom. Among the great poets present here are Schiller, Goethe and Heinrich Heine.

In the first decade of his recording career, cellist Gautier Capuçon has demonstrated great versatility, playing as often as a chamber musician as he has appeared as a concerto soloist. His repertoire covers the standard cello works, though he frequently performs pieces that are less expected. Thus, on this 2014 release from Erato, Capuçon delivers a stirring performance of Franz Schubert's famous Arpeggione Sonata, which is regularly recorded by cellists, yet he fills the rest of the disc with pieces a bit off the beaten path, such as Robert Schumann's Five Pieces in Folk Style, Claude Debussy's Sonata for cello and piano, and Benjamin Britten's Sonata in C.